Wood turning projects are a great way to learn new skills and to refresh old ones. They generally come with instructions from start to finish and hopefully with lots of pictures to give further guidance. However, the very nature of wanting to learn a new skill determines that the project needs to be repeated several times until the skills are developed. Often it is the case where the first is fascinating, the next couple are fun, and fourth is a challenge and rest are boredom but should be done. Since most of us who turn are hobbyists, boredom can be a killer to the craft. Thankfully, there are three simple ways to dress up a project, each or which may add its own challenges and interests.
First there is the obvious method of adding beads and coves. While it may seem like a simple solution to boredom one needs to ask where each bead or cove goes and whether it "works" with other beads, coves, straights and curves. If it goes on a handle does it make the handle more or less comfortable to use? Are there artistic reasons for placement or utilitarian ones such as distinguishing one tool from another while it is on the bench amidst the shavings? Adding beads and coves to spindle woke is so common that it is good practice for all spindle turning but face plate projects should not be neglected either. One bead at the rim of a bowl may give it an elegant look while a fully beaded surface will change the grain appearance strikingly, particularly in a broad grained wood like oak or ash.
Second one might add a line of color with burning or wood displacement. To burn a line on a rotating piece of wood one first suspends a thin wire between two wooden handles. Holding the wire without handles is asking for burned, cut or removed fingers while using the handles renders the activity safe. As the wood rotates at good speed it is first grooved slightly to prevent the wire from slipping as it is held in the groove. Pressure is applied by pulling the wire taut between the handles and friction causes a burn line to form. The depth of color can be controlled with additional pressure or the duration of the burn.
Wood displacement adds a line of color by actually transferring a bit of wood from one piece to the next and tends to work best on faceplate work although it can be used on spindles. It also works better with dark woods being used to color light ones. For instance if a bowl of maple is turning on the lathe, a thin piece of rosewood about 6 inches long and 1 inch wide but only 1/16" thick may have its edge brought to the spinning wood. Under a bit of pressure a bit of the rosewood will actually be transferred to the spinning maple. The band may be darkened by holding the rosewood in place a bit longer and broadened simply by moving it left and right.
Third is adding color to the wood. For some this is a shock under the belief that wood turnings should always be left natural, but people have been coloring them since turning started. Color may be added easily with felt markers while the wood turns or is stationary. The varieties of paints and stains available are amazing indeed. Leather dyes should not be overlooked. They use an alcohol solvent that will not raise the grain the wood, apply and dry quickly, and allow the grain of the wood to show through. Again there is a wide variety of colors available and they all mix well to give infinite choice.
Each of these methods and many others allow for adaption of wood turning projects to make them into signature pieces for a turner while learning a variety of techniques and style without the boredom of undue repetition.
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